Archives

Taal als delicatesse

Taal als delicatesse. De invloed van Omar Khayyam en andere Perzische dichters op de Nederlands poëzie. Kees Fens
In: De Volkskrant, 21-4-2006

Meer dan gedichtjes lezen. De invloed van Perzische dichters op de Nederlandse literatuur

Meer dan gedichtjes lezen. De invloed van Perzische dichters op de Nederlandse literatuur. Christiaan Weijts
In: Mare 29 16-3-2006, p. 13

Mark Twain had tot op zijn sterfbed altijd een bundeltje van Omar Khayyam op zak. Ook Nederlandse auteurs zijn dol op Perzische poëzie. Van Bilderdijk tot Jan Wolkers. Vrijdag 17 maart 2006 verschijnt voor het eerst een monografie over de invloed van Perzische poëzie op de Nederlandse literatuur.

 

D’Omar Khayyam à Fernando Pessoa et à Pierre Seghers

D’Omar Khayyam à Fernando Pessoa et à Pierre Seghers : traduction, recréation, transfert? Ana Maria Binet
In: Synergies Portugal, (2020), 8, pp. 83-95,165-166

The constant attraction for Eastern world on the part of Western world became particularly relevant in the XIXth century, bringing about a special interest for oriental poetry, which was abundantly translated, mainly to English and French. Omar Khayyam, a great Persian medieval poet, was one of the objects of this fascination, having been translated, among others, by Edward FitzGerald, in 1859, which made him famous through English speaking world. Fernando Pessoa used this translation to adapt Khayyam’s poetry to his own inspiration. In 1982, Pierre Seghers published his French translation, which is perhaps, among those we present here, the only one we can consider as being one.

 

FitzGerald’s Anglo-Persian Rubáiyát

FitzGerald’s Anglo-Persian Rubáiyát. R. Taher-Kermani.
Translation and Literature, 23 (2014), nr. 3 (324-335)

This article examines Edward FitzGerald’s translation practice and the poetics of his Rubáiyát of Omar Khayyám (1859) in order to to enrich and supplement previous critiques. FitzGerald succeeded in ‘Persianising’ his re-writing of the rubáiyát by importing matter of peculiar Persian significance. In order to identify it, his translation of Khayyám needs to be read with, so to speak, a Persian eye; it has to be scrutinized as a native critic would read and analyse the poetry of, for example, Hāfiz. This is the fundamental approach of this essay.

Strategies of appropriation: Khayyam and Rumi

Strategies of appropriation: Khayyam and Rumi. F. Farahzad.
In: Translation Studies 4 (2006), pp. 44-52.

This paper attempts to explore the issue of representation by focusing on two major translations of Persian poetry and literature, one produced in mid 19th century and the other produced in late 20th century.

Omar Khayyam, la Poésie Persane et Max Rouquette …

Omar Khayyam, la Poésie Persane et Max Rouquette: Max Rouquette, traducteur, Occitan d’Omar Khayyam: Choix de Roubaïates de Omar Khayyam Traduits en Occitan par Max Rouquette. Roland Pécout.
Les Cahiers Max Rouquette, 2012, 6, pp. 19-39.

Other Persian quatrains in Holland: the Roseraie du savoir of Husayn-i Ázád

Other Persian quatrains in Holland: the Roseraie du savoir of Husayn-i Ázád. J.T.P. de Bruijn.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 105-114.

De Bruijn explains how, from the nineteenth century onwards, Persian quatrains became fashionable in Dutch poetry. After briefly referring to two great Dutch poets, P.C. Boutens (1870-1943) and J.H. Leopold (1865-1925), De Bruijn concentrates on their common source, an anthology of Persian quatrains in two parts published in 1906 under the titles Gulzár-i ma ‘rifat and La Roseraie du Savoir respectively. The author of these Persian and French anthologies was a Persian by the name of Husayn-i Ázád, who was a physician at the provincial Qajar court of Isfahan. He travelled to London and Paris, but later settled in Paris, where he concentrated on European and Persian poetry. In his chapter, De Bruijn gives a vivid picture of Husayn-i Ázád’s life and how he tried to introduce treasures from the Persian literary tradition to a western public.

Quatrains of ‘Umar Khayyám in Turkish, and Turkish quatrains

Quatrains of ‘Umar Khayyám in Turkish, and Turkish quatrains. S. Sötemann.
In: The great ‘Umar Khayyám. Leiden, Leiden University Press, 2012. pp. 97-104

Sötemann explains that while Ottoman poets were deeply influenced by Persian poetry, they avoided composing quatrains, preferring other literary forms. Yahya Kemal Beyatlı (1884-1958) was an exception, as he tried to master all the forms and genres of Ottoman poetry. In his efforts, Beyatlı translated Khayyám and introduced his poetry to Turkish people.

Edward FitzGerald”(1809-1883), British translator of The Rubaiyat of Omar Khayyam …

Edward FitzGerald”(1809-1883), British translator of The Rubaiyat of Omar Khayyam (by far the most famous translation ever made from Persian verse into English), as well as Jāmī’s Salāmān o Absāl and ʿAṭṭār’s Manṭeq al-ṭayr. D. Davis.
Encyclopaedia Iranica, Online Edition, December 15 1999.

The Rubaiyat of Omar Khayyam is by far the most famous translation ever made from Persian verse into English, and it had a considerable influence on the development of late Victorian and Edwardian British poetry as well as the awakening of a much wider interest, in English speaking countries and Europe, in Persian literature than had previously been the case